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On The Air Now:
Dr. Drase and Michael Flavor
Every week we do our best to add a wide range of music to our library, from the newest local releases to lost gems from the archives. Here’s a list of what we’ve recently added.
Week of Aug 23, 2010
The instrumental debut full-length from electronic dance-rock band Out Hud, full
of dub grooves, experimental orchestration with strings and synth, and
copious amounts of face-rocking, was a landmark album for the Brooklyn
music scene. Just six songs long, the album is 38 minutes of cool
dance anarchy. You’d be hard-pressed to find a more fun album.
Shortlisted by many as one of the greatest jazz albums of all time,
Somethin’ Else is a 1958 release by saxophonist Cannonball
Adderley, his first on Blue Note. With contributions from Miles
Davis, it is a seminal bebop, hard bop and cool jazz record — the
operative word being “cool”: there are moments on Somethin’ Else that can transport you instantly to a smoky 1950s jazz club.
A meditation in fuzzy lo-fi recording techniques, inspired pop rock composition, and guttural anthems, this debut from Chicago’s young garage rockers could fit comfortably in a disc changer alongside The Willowz, Happy Birthday, The White Stripes and John Bellows.
The second album by Kill Rock Stars noise rock band Unwound offers a
more cohesive feel than the debut, while still displaying dark, distorted,
dissonant rock gems. New Plastic Ideas displays a clearer indication of what
the band would become, a kind of burning intensity with even stronger
song structure.
This 2007 remaster of 1980’s Gyrate by influential Athens, GA
New Wave band Pylon is equal parts dance, rock and new wave
without the quirk — a sound more akin to artists working
today than its contemporaries.
Emeralds are proof positive that Cleveland does in fact rock, but in a more blissful, slow-burning way than you may think. Emeralds draw on many things, including the Kosmische movement of 1970s Germany, to build sprawling ambient compositions. What Happened marks the turning point where Mark McGuire’s guitar, once a piece of the machine, is brought to the forefront; for a band as adventurous as Emeralds, it’s an album that suggests their star will burn like the Cuyahoga for many years to come.
Released in 2005, Cinder is a marked change for Dirty Three: gone are the lengthy compositions; in their place are a leaner bunch of songs that still pack the brooding punch of their predecessors. The addition of Chan Marshall’s (Cat Power) vocals to “Great Waves” is a perfect match, and Warren Ellis’ violin, while restrained, is still moody and beautiful.
When thinking of Tom Waits, one word that probably doesn’t come to mind is ‘accessible’ — few musicians before him or since have been as daring and downright outrageous. The odd, eerie Swordfishtrombones was the first album that Waits produced for himself, and his sense of artistic freedom is conveyed throughout the album, giving insight into one of music’s most intriguing minds.
Flying Lotus’ Steven Ellison has enjoyed a fair amount of success over the past couple of years, collecting accolades from various press outlets, becoming the face of L.A.’s underground electronic music scene and inspiring a whole host of imitators. Seamlessly blending one song to the next, Ellison achieves a powerful groove. He gets in, sets the mood, gets out and keeps your head nodding the whole time.
Chicago natives Red Red Meat rode high during the ’90s, counting bands like the Smashing Pumpkins among their friends. Yet the monumental success that found many of their compatriots eluded Red Red Meat. Sub Pop still regards this as one of the finest records to be released under their name. Bunny Gets Paid was and still is a huge leap forward — the band would continue its experimental streak into the decade and eventually evolve into Califone.
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